We will be at The Affordable Art Fair this October in Battersea to help them celebrate 20 years since their first fair! We will be celebrating the 1990’s in true style with interactive workshops and thought provoking talks.

Affordable Art Fair Battersea

We have developed an engaging programme for this event with our Central Saint Martins short course tutors from a wide range of disciplines. View the full What’s On programme to see what is going on throughout the fair. Next, let’s meet the team!

All workshops and talks – plus many more activities throughout the day – are included in your entry ticket to the Affordable Art Fair Battersea. To enjoy £5 off, simply enter the code CSM when purchasing your ticket in the ticketshop.

All workshops and talks are provided by Central Saint Martins short courses. We are booking now for courses throughout the year. Autumn Term 30 September – 7 December, Christmas School 9 December – 20 December, Spring Term 6 January – 14 March 2020, and Easter School 16 March – 9 April 2020

As the official academic partner, UAL worked with the short course teams to run complementary workshops during the press view, inviting audiences to take part in hands-on Make-Up and Editorial Styling Photography; Life Drawing and Collage sessions.

Alexis Panayiotou and Ami Benton

Central Saint Martins short courses provided a practical drawing workshop that was run by CSM Short Course tutor, Alexis Panayiotou. Attendees were able to draw model Ami Benton, who was wearing make-up and clothes inspired by the themes of films, such as Kubrick and others.

Alexis Panayiotou and Ami Benton

We had a really great turn out and some very talented visitors!

Student work

London College of Fashion short courses worked with Sam Walker, a make-up artist that created some iconic film looks on the attendees of the event, which were then be photographed by Darren Black, a professional photographer and shared on social media.

Join Central Saint Martins short courses at the Affordable Art Fair in Hampstead this May. Throughout the show we will be providing engaging workshops and inspirational talks to all visitors.

Affordable Art Fair Hampstead

This year, we are working with a range of Central Saint Martins (CSM) short course tutors, University of the Arts London (UAL) alumni and students from Made in Arts London on this exciting programme. View the full What’s On programme to see what is going on throughout the fair. Next, let’s meet the team!

Friday workshops

R.M. Sánchez-Camus, better known to us as Marcelo, is a creative practitioner who develops works of art in collaboration with community partners. He is a Central Saint Martins, MA Scenography (design for time-based media) graduate.

Saturday talks

Mary Caddick, has a BA Central Saint Martins, Post Grad Dip Art Therapy Goldsmiths College and MA Tavistock Clinic/UEL, is a maker, tutor/facilitator and art therapist. She teaches on the Creative Process and Self-Expression Central Saint Martins short course and is passionate about supporting authentic creative expression for the benefit to the individual as well as for society.

Sunday talks

Panel discussions facilitated by Andrew Marsh, Course Leader for MA Arts and Cultural Enterprise, Curator in Practice for BA (Hons) Culture, Criticism and Curation and PhD supervisor. He is an independent curator, critic, lecturer, exhibition and project manager with longstanding experience in commercial and non-commercial environments within the art world in the UK.

This May, attendees of the Affordable Art Fair Hong Kong will be able to participate in engaging and inspirational talks provided by both Central Saint Martins Short Courses and HKU SPACE!

Affordable Art Fair Hong Kong

Affordable Art Fair Hong Kong returns for its seventh edition in May 2019, HKCEC. There will be over 115 local and international galleries showcasing a stunning collection of fresh and affordable contemporary artworks. To help support the visitor experience, HKU SPACE and Central Saint Martins short courses have joined up as the education partner to bring some opportunities for guests to learn more about immersing themselves in the quickly growing Hong Kong contemporary art scene.

We will be working with Joane Chan, Keith Wong and Leo Chan to deliver an engaging talks programme.

Joanne Chan

Hong Kong based artist Joanne Chan creates paintings that traverse between energy and healing, consciousness and the subconscious, the creator and creation. Since her graduation from University of the Arts London – CSM foundation and Chelsea College of Arts majoring in BA Fine Arts, she has become a certified energy healer in 2016. She creates works with a sense of mindfulness.

Joanne Chan

Mental Well-Being and Art
Friday 17 May @ 6pm and Sunday 19 May @ 1pm

Like a mirror, art serves as a medium that reflects, records, explores and experiences the fluidity of one’s consciousness; it is revealing yet poetically romantic. Within art the definition for aesthetics are very subjective yet at the same time objective, and it is the same in daily life. How would we manage our emotions if we are faced with barriers that stop us? Do we use other means to cover up places that are not wished to be seen? You may have managed to escape or suppress your feelings before and the strong sensitivity of your emotions may have been temporarily lessened but when it is touched the thing that you fought so hard to hide still remains untouched. The connection between the truth and purpose of life is deeply ingrained in our daily lives; let’s discover the reality of our own blue print together and recover our senses. Look within and observe ourselves between the relationship of our reality and emotions – from there, let’s begin our inward journey and discovery of how far we could go with our creativity.

Keith Wong

Keith Wong, is a curator, conceptual artist, columnist, co-president of UAL HK Alumni Association, chairman of APPortfolio, an art and design platform and the founder of sport-art platform UrbanCroxx, which is ranked as the world’s number 2 coolest gym. He graduated from Central Saint Martins in London with an MA Design Studies.

Keith Wong and Shepard Fairy

“Collecting Prints and Editions
Thursday 16 May @ 8pm

A lot of people really just think that prints and editions are reproductions of existing paintings, which is really not the case at all. Artists have long supplemented their larger practice by making prints: original works, usually on paper, created in numbered editions and produced in collaboration with some kind of press. For would-be collectors intimidated by the impenetrable price points of the runaway train that is the contemporary art market, the print market can be a godsend. Jeff Koons’s Balloon Dog (Orange) (1994–2000) may have sold for $58.4 million at auction, but smaller porcelain multiples of the iconic work published in an edition of 2,300 sell for just $10,000. And it’s still a Koons. Are prints and editions just like copies of an artist’s big, famous works? Is a print labeled “1” more valuable than a print labeled “100”? Where do I hang prints in my house? And how do I take care of them? Why are some prints and editions pretty cheap, while others are as expensive as original works and where do I buy one? You may find an answer in this sharing section.

Why starting a contemporary art collection in the first place? It’s simple, really: great art makes you think, feel, and see in new and interesting ways. Having artworks in your home enriches your daily life while also adding visual interest to your space and showing off your aesthetic sensibilities—what’s not to love? You don’t need to be rich before collecting art – start small and your collection will soon grow. The trick is knowing where to look at. Art sometimes can be daunting. There’s an image of the art world as a conglomeration of names, periods, galleries, and movements to memorise, outsized characters to glad-hand and woo, an international network of fairs and institutions to navigate, and sky-high prices to contend with. But here’s the secret few art-world gatekeepers will tell you: there’s never been a better time to start collecting art. With the rising popularity of contemporary art and the current spate of art-world services and technologies that have arisen to meet this growing demand for information, logistics, and supply, art lovers who want to get in on the action have access to reliable and readily available tools to make the adventure of collecting smooth and simple, no matter your experience. This talk will share a few of the major considerations would-be art patrons should think about when starting a new collection.

The word ‘art’ is most commonly associated with pieces of work in a gallery, museum or in art fairs. However, there is so much more to art than what you see displayed in galleries. Most people don’t realise how much of a role art plays in our lives and just how much we rely on art in all of its forms in our everyday lives. Everything from a delightfully patterned carpet, decorative tea towels to the fancy iPhone case or angle-poised desk lamp can be considered a form of art. While art may not be vital to fulfill our basic needs, it does make life joyful. Art gives us meaning. There are things that cannot be understood with pure reason—like love and beauty, to name two. Art helps us understand our world. If you want to find more creativity, satisfaction, and happiness, the single best solution may be adding more art to your life. This sharing is not to share something theoretical, academic or medical but some ways to Incorporate More Art into Your Daily Life and Why.

If you are interested in getting involved with the Affordable Art Fair in Hong Kong, you can book tickets now! All attendees are invited to join us for this exciting schedule of talks. We hope to see you this May!

All complimentary talks are provided by:

In fulfilling the mission of The University of Hong Kong in extending lifelong learning opportunities for the community, HKU SPACE aspires to be a world-class centre of excellence for the provision of professional and continuing in Hong Kong, Mainland China and the region. HKU SPACE runs postgraduate programmes like MA Arts and Cultural Enterprise, MA Media, Communications and Critical Practise; executive programmes like Collecting Contemporary Art and Introduction to Curating in collaboration with Central Saint Martins (CSM), London College of Communication (LCC) and Chelsea College of Art (CCA) under UAL.

Interested in attending the Affordable Art Fair Hong Kong? Book your tickets now! If you are not in Hong Kong? Don’t worry – we are also working with our partners in London! We will be at the Affordable Art Fair in Hampstead this May providing workshops and talks throughout the fair.

If you like what you see and want to know more about how you can join us at Central Saint Martins as a short course student, have a look at our popular Summer School. Courses will run from June – September and are available for students aged 11+.

Central Saint Martins Short Courses will also be working with Affordable Art Fair in Hamsptead (9-12 May) and Hong Kong (17-19 May).

We had a great time at the Affordable Art Fair Battersea, from 18 – 21 October; we caught up with some old friends, made some new ones and saw so much great work from UAL Alumni!

Affordable Art Fair Battersea

Our Central Saint Martins Short Course tutors provided a range of engaging workshops and in-depth talks throughout the show, based on the theme of Gender and Identity. We started off in the Creative Lounge with a range of workshops led by Rochelle Fry and Alice White.

Thursday Afternoon, Rochelle Fry

Miniature Worlds: Participants got to unleash the artist within and join CSM Short Courses tutor and artist Rochelle Fry, to discover a world of still life drawings with a twist. Constructing and drawing mini-still life arrangements from tiny objects that often get lost or discarded.

Moving Bodies: Those who attended had the opportunity to delve into new processes and materials, to create collages focusing on the themes of shape and movement. The session sought inspiration from artist Jens Ullrich, opening up to collage and the art of listening to your materials. Beginners were more than welcome to come along and the results were wonderfully surprising.

Making Like Matisse: Participants were encouraged to immerse themselves into Henri Matisse’s glorious world of colour and compositions. By getting involved and being creative with collage, they were taught and tried out themselves, the cut-out and paste technique made so prominent by this leading figure of modern art. It was a perfect opportunity for anyone wanting to learn how to ‘paint with scissors’.

Sensory Still Life: Setting up a sumptuous display of fascinating fruits and follies Alice delivered a session devised around accessible drawing techniques. This unconventional still life set up was intended to provoke an exploration of the masculine and the feminine, and the multitude of meanings behind these terms. Participants were encouraged to focus on shape, form, colour and texture in this wonderful session that was open to all.

On Saturday and Sunday afternoon we hosted talks about gender and art in the Talks Lounge, with Dr Rosa Nogués and Theo Carnegy-Tan.

Saturday Afternoon, Dr. Rosa Nogués

Art and Identity: Dr. Nogués delivered a thought-provoking talk on the relationship between identity and art. Questioning, how important is identity when thinking about art? Are issues such as gender, race, sexuality, and class part of understanding a piece? The talk delved into the topics of identity, difference and how representation have all been addressed in art since the 1970s.

Exploring Gender in Art: In an introductory talk, Theo looked at issues of representation and gender while discussing the ground-breaking works of photographers’ Claude Cahun and Cindy Sherman. Questioning, how is masculinity and femininity traditionally represented in the arts? How do these representations influence wider culture, and how can they be subverted? Attendees got to experience a fantastic and challenging discussion which took a closer look at gender in the arts.

Best of all, we love that the Affordable Art Fair is dog friendly! We had some great furry friends joining us at our workshops and our talks. It was lovely to spend an afternoon out and about in the community meeting lots of people that are interested in art. We feel inspired and ready to keep on creating!

Today we hand over the blog to the curator of the Short Course Exhibition, Hugo Lucien Bou-Assaf, for him to write about the experience of curating the short course exhibition, and the ideas and themes behind his choice of display.

Hugo Lucien Bou-Assaf

Short Course Exhibition Display

My brief when curating the short course showcase was to create a composition of 7 displays in the Lethaby gallery windows.

My initial process involved analysing the process of each tutor and monitoring how their craft influenced the perception of a final object. Over a series of meetings in which tutors would create work for the project, I noticed several techniques and processes that disclose a more nuanced view of the produced material.

The relationship between process and production arose early on. Manifesting this visually however was more of a challenge. Whilst footage could potentially be displayed on monitors I wanted to reinforce the gestural, hands on nature of craft. My solution was to extrapolate stills from a series of videos filmed of the tutors at work that best exemplified certain themes, such as the changing state of materials and technical flourishes. These stills would be placed sequentially, in chronological grid formations and printed on soft banner material. This texture allowed me to remove micro nuances of certain crafts and place them statically, separate from the flow of time, so that they themselves can be observed in the manner of typical 2D display, whilst retaining a degree of tactility.

Tactility was one of the main considerations in my curatorial thinking, as many of the objects presented a function in relation to the human body, or are designed to be used, touched or worn. The display’s glass panelling meant that a physical barrier would separate the viewer from the art work. Much of my thinking centred around closing this distance by using reference points, signalling the most textural components of each work. In Jill Entwistle and Judy Bentinck’s display, for example, objects are placed in a way that best reflects the contrast between surfaces. This concept is extended into the displays of the rest of the artists.

When installing the show, I found myself gravitating towards the concept of elevation, the idea of eyelines and guided vision emerged as another seminal cornerstone of the exhibition. Looking at the accumulated visions of contemporary artists such as Barry Le Va, I recognised the importance of a cohesive visual consistency. The flow of sight is guided by dimensions of height and depth. Objects such as banners hang to create a canvas or space and the works fill this space with constellations that follow a narrative. In Kangan Arora’s work, for example, the objects begin as tools and culminate in product, or, to give another example, in Sean Myers’ pieces the works visualise the theory of quantum physics at successively different scales, beginning from the largest cosmological events on a universal scale and ending at the atomic makeup of our bodies.

As a whole the project investigates the talent and craft that make short courses so appealing. They enable students to not only learn skills but interpret and apply them in ways, just like the display, that tell functional stories. The wide range of mediums and professions gives the unique opportunity to see dialogue and semblance in objects and art works typically demarcated from one another.

The installation begins with four mounted print works from printmaking short course tutor Sean Myers. The works are visualisations of quantum theory pioneered by the late Stephen Hawking. Starting with representations of the big bang and astrophysical representations of multiverse theory, to the vastly reduced subject of our own planet within the solar system, all the way to the atomic biological compositions of the human body, Myers’ work excels in this narrative approach to science but also in its accessible nature.

Kangan Arora teaches a short course in textiles and her work explores colour theory and a product based approach to design that sees her patterns proliferate in lived environments. The display of her works presents the tools of her process in conjunction with the finality of a product, the two interplay and mediate the idea of craft as not only object but construction.

Anastasia Young’s jewellery work has a sculptural sensibility. Inspired by Christianity’s medieval iconography, her piece retains the fine craft of traditional jewellery technique but applies the sensibilities of modern re-interpretation and pastiche. It is distinctly and simultaneously faithful and rebellious. Presented alongside this is a banner detailing process from a live filming of her working on a re construction of the piece.

Anastasia’s jewellery work sits adjacent to the metal shelving unit of curiosities put together by Alexander Hinnerskov, who teaches the product design short course. Behind the shelving unit is a banner taken from a live demonstration of Hinnerskov’s concept development and applied thinking relative to how we interact with everyday objects. His work has a remarkably contoured functionality that integrates into a wider philosophical supposition on how design can reimagine processes in our own lives. His work is intuitive and as such, lends itself to multiple tests and reworking, which are all evidenced and displayed within the industrial shelving unit.

Next to this is a group of detailed life drawing works done at a live session in the CSM Archway studios by David Price, teacher of the life drawing short course. In front of Price’s banner, which details him drawing from a life model who sits out of frame, are visceral isolations of the human form. Stylistically the drawings resemble the works of Freud, Auerbach and the London Schools of draughtsman. These objects hang like curtains at separate elevations to disclose imagery in the banner, reinstating to the viewer the importance of process. In this instance drawing is perhaps defined by its processes, which consist of the collaboration between the sitter and the artist.

Judy Bentinck and Jane Fryers are both tutors on the millinery course, as well as professional milliners, and have 3 hats included in their displays. The works are tactile and convey texture with vivid clarity. Whilst the hats in the display function as art objects they also interplay with other works intended for the body, challenging our perception of how the field of fashion can have sociological, geographical and historical pertinence as artefacts of design.

Kristine Kilty, fashion styling short course teacher, works and interprets fashion to transform looks into fictions for brands and designers. The banner presenting her works are isolated processes of a time lapse video in which Kilty and her team are styling models for a photoshoot. Several looks are pronounced references to classic ski wear whilst others see bellowing jackets synched, tied and draped to create an interplay between the body and the garment.

Jill Entwistle, tutor on the pattern making short course, is an expert pattern cutter whose renditions of fashion silhouettes have a calculated intricacy. Her work acts as a sculptural disturbance of the accepted geometry in garment design. Her display focuses primarily on her process and how in her work this process has visible traces. The foreground sees a mannequin baring the assemblages of construction, calico meets pattern paper, raw seams and interfacing disclose the geography of an uninhabited body. This is offset by a banner showing a 360° view of Entwistle’s work, encouraging the viewer to observe the garment as an object native to motion, further punctuating the vitality of her work in connection to the human form.

Ultimately the exhibition aims to provide the visualisation for the process and outcome of a short course. Whilst each tutor and artist work in the coalesced sphere or art practice their technical sensibilities and craft based perspective allow them to present not only unique craft but unique opportunities and experiences to teach.

Like Hugo’s work? give him a follow on Instagram. We were very pleased to work with Hugo, as he is a graduate from the BA (Hons) Culture, Criticism and Curation course. If you are feeling inspired to get back into the classroom, you are in luck! CSM Short Courses run throughout the year during daytimes, evenings, weekends, Saturdays and online – Autumn Term starts 1 October. View all upcoming courses now.

The courses I teach are very practical, allowing students to learn as they get to grips with the possibilities (and limitations) of the materials being used. I use set projects as a framework for the courses which allows beginners a supportive environment, and also gives intermediate students the chance to push things a bit further when they are ready.

Most of the projects are made in silver, although we use a range of materials throughout the courses, from acrylic and resin to copper, textiles and of course gemstones!

How did you come to work in your field/discipline?

I didn’t plan on becoming an artist initially – in fact I started a science degree – but when that didn’t work out, I applied to a Foundation Diploma course and it was there that I was briefly introduced to metalwork techniques. I have always enjoyed making things and drawing, and the miniature scale of jewellery attracted me enough to want to do a BA in the subject. I was lucky enough to be able to study at CSM and then take an MA at the Royal College of Art; my practise has evolved naturally and I have never had a plan for what I think I should be doing!

I started teaching Short Courses whilst I was doing my Masters and started teaching part-time on the BA Jewellery course not too long after; I attribute the breadth of my knowledge to having to find things out so that I could teach them! This knowledge has allowed me to write three technical jewellery books which have gone on to be translated into seven languages. I am still constantly learning though, and think that one of the best aspects of jewellery-making is that there is always something new to learn in terms of techniques, materials, history, culture and theory – it is a very large subject field.

I am also on the Board of Directors of the Association for Contemporary Jewellery, which is a members’ organisation dedicated to the promotion of contemporary jewellery. We organise exhibitions of members’ work, conferences and publish a bi-annual magazine of which I am the Technical Features Editor.

Tell us about your work.

My time is divided between teaching and my own studio practise, in which I work on private commissions and project-based or exhibition pieces. It was never my intention to become a commercial jeweller, although I do sell jewellery and jewellery-making tools through my online shop.

My jewellery is usually influenced by one of several recurring themes – the most prominent of which is mechanical forms. I am probably best know for my Machina Collection, and it is this style that I am usually commissioned to make. For this work, I am recycling components from broken machines such as cameras and cassette players by transforming them directly into silver or gold, and combining them with handmade elements and semi-precious gemstones. I have a very particular aesthetic for this work and like to use chemicals to colour the silver to give it a sense of age.

What are you working on at the moment?

I’m between two projects at the moment. I’ve just started writing my fourth technical jewellery book which is about a particular metalworking technique that my partner Paul Wells (also a Short Courses tutor) has been developing. It’s already a fascinating project, as Paul is breaking new ground with his technical processes and I am excited to see it develop further.

I am also finishing up the collaborative project that I have been working on with photographer Lindsay Cameron – The Lily Holds Firm. We started the project in 2013, and I don’t think either of us imagined that it would take nearly five years to complete! Using nineteenth century funeral cards as our starting point, we have recreated scenes depicted on the cards. This has meant making physical representations of many of the objects illustrated in these engravings, to scale, and combining them with found objects to build dioramas which we have photographed.

More images of the original cards and the pieces I’ve made inspired by them can be explored at www.thelilyholdsfirm.com.

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The pieces I have in the exhibition are all from the project The Lily Holds Firm. The Hearts on Chains were made for Card Number 2: The Sacred Link. This piece is the focal point of the whole image and it took several months to complete. Every heart is formed from flat copper sheet, and every link in the chain was made by hand from twisted square brass wire – these are the techniques which I am demonstrating in the video accompanying the exhibition.

The Glory Bangles are made from cast epoxy resin which I have custom dyed. I created them by taking a mould from chandelier crystals, allowing me to recreate many copies in a range of colours. These pieces are used in many of the images in the project, usually blending into the background, so it has been interesting to see them displayed as pieces in their own right.

Which piece of creative work, in any discipline, do you think everyone should see and why?

I tend to enjoy immersive environments more readily than isolated artworks in a gallery context. I find inspiration in collections of objects or curated spaces because I can relate to the narratives behind and between the pieces more readily when they are in conversation with each other. Places that allow you to soak up the atmosphere, such as the Pitt-Rivers Museum, Sir John Soane’s Museum, Dennis Sever’s House or the Isabella Stewart Gardner Museum in Boston are just perfect.

How did you come to work in your field/discipline?

After gaining some experience at a small design studio in South London, I launched my own brand – Kangan Arora – initially designing and making a small collection of soft furnishings that I took to design trade shows to sell. That was back in 2011, and since then the studio has grown a lot and now focuses on design collaborations

Tell us about your work

I run a design studio in South London producing small editions of soft furnishings as well as collaborating with various companies. I’ve designed bedding for Urban Outfitters, limited edition cushions for Heal’s, rugs for Floor_Story and packaging for REN skincare; so the work is quite varied.

My work is driven by a love of craft, colour and geometry and that’s a vein that runs across all the projects.

Where do you get your inspiration from and how do you stay inspired?

Inspiration comes in so many forms, but mostly just being in the cultural hotpot that is London. I visit a lot of galleries and exhibitions, meet a lot of interesting people (including the students here!). My main inspiration however, remains India, my home that I visit at least once a year.

What are you working on at the moment (if anything)?

I’m prepping for a 2 week workshop I’m teaching this September in Japan at the Kyoto Design-Lab. I’m also prepping for a Christmas launch of a collection I designed last year for a large design company. Unfortunately I’m not at liberty to say who at this stage but watch this space!

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The cushions are from my 2015 collection, Fluorescent Forest. I thought it would be fun to show some of the process behind the making of the prints so you can see the original artwork, the screens and a short video of me printing the design.

Which piece of creative work, in any discipline, do you think everyone should see and why?

I think everyone should watch Wong Kar Wai’s In the Mood for Love, it is one of the most beautiful films I’ve ever seen. Each frame is like a still photograph or a renaissance painting, I think it’s a great study in film, photography, art, painting, costume and colour.

The Affordable Art Fair is a great opportunity to see so many different artworks under one roof. For some it’s a chance to buy work or start their art collection, for others it’s simply an opportunity to be inspired by different artists.

Affordable Art Fair, Creative Studio

Workshop I: Making Your Mark

The idea behind this workshop was to help people really engage with drawing in a fun way.

Workshop I: Making Your Mark

We tried a few different techniques exploring what our drawing materials could do, experimenting with things like the way that we held the material, twisting and pulling it, and leaning lightly/heavily to see if it affected the marks that we made.

Workshop I: Making Your Mark

When we compared the many marks and textures we could create from just one material, it was quite surprising. For me the best bit was the seeing each participant’s journey, some, from disbelief and expressions of “I can’t do that”, to “Wow, I made that!”

Workshop I: Making Your Mark

Workshop II: Decadent Drawings

This still life drawing workshop was inspired by Baroque, a period of art that is celebrated for it’s sensuous richness and dramatic use of colour.

Kim Scouller / Workshop II: Decadent Drawings

We used vibrant chalk pastel colours on black paper to re-create a flavour of Baroque drama.

Workshop II: Decadent Drawings

The idea was to initially use one pastel for a line drawing and then, to block in the shapes using expressive colour and to smudge and layer the pastels.

Workshop II: Decadent Drawings

I was amazed and inspired by how bold and beautiful the drawings turned out. It really took people out of their colour comfort zones, perhaps encouraging them to not worry about the results so much and to enjoy the process of making.

Workshop II: Decadent Drawings

I think the CSM workshops really help people to engage with making and understanding what goes into creating an artwork. So even if in a small way, it creates an awareness and greater appreciation of the work seen at the fair.

Workshop II: Decadent Drawings

Also, having dipped their toe in creating something themselves, visitors have the opportunity to continue their interest in art by suddenly finding out about and hopefully studying on one of the amazing short courses at CSM.